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UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
International General Certificate of Secondary Education
0486/53
LITERATURE (ENGLISH)
Paper 5
October/November 2010
45 minutes
Additional Materials:
Answer Booklet/Paper
*8667712642*
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet.
Write your Centre number, candidate number and name on all the work you hand in.
Write in dark blue or black pen.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer one question.
At the end of the examination, fasten all your work securely together.
All questions in this paper carry equal marks.
This document consists of 14 printed pages and 2 blank pages.
DC (SM) 19874/6
© UCLES 2010
[Turn over
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Answer one question on any text.
BRIAN CLARK: Whose Life is it Anyway?
Either
1
Read this passage carefully, and then answer the question that follows it:
Dr Scott:
John:
Ken:
John:
Ken:
John:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
© UCLES 2010
[He puts down his razor and, striking Ken very lightly up and
down his body like a xylophone, sings a typical steel band
tune, moving rhythmically to the music. Ken is delighted.
Dr Scott comes in. John stops.]
Don’t stop …
It’s alright … I’ve nearly finished.
[He makes one more pass with the razor.]
I was just making myself beautiful for you, Doctor.
There … Finished.
[He goes to the door.]
Work out some new tunes … Hey, if Doctor Scott could drill
some holes in my head, you could blow in my ear and play me
like an ocarina.
I’ll see you later.
[He grins and goes out.]
You’re bright and chirpy this morning.
[ironically ] It’s marvellous you know. The courage of the
human spirit.
[dryly ] Nice to hear the human spirit’s OK. How’s the lungs?
[She takes her stethoscope from her pocket. She puts the
stethoscope to Ken’s chest.]
[sings ] Boom boom.
Be quiet. You’ll deafen me.
Sorry.
[She continues to listen.]
And what does it say?
[gives up ] What does what say?
My heart, of course. What secrets does it tell?
It was just telling me that it’s better off than it was six months
ago.
It’s a brave heart. It keeps its secrets.
And what are they?
Did you hear it going boom boom, like that? Two beats.
Of course.
Well, I’ll tell you. That’s because it’s broken, broken in two.
But each part carries on bravely yearning for a woman in a
white coat.
And I thought it was the first and second heart sounds.
Ah! Is there a consultant’s round this morning?
That’s right.
I suppose he will sweep in here like Zeus from Olympus, with
his attendant nymphs and swains.
I don’t think that’s fair.
Why not?
He cares; he cares a lot.
But what about?
His patients.
I suppose so.
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Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Ken:
Dr Scott:
Sister:
He does. When you first came in he worked his guts out to keep
you going; he cares.
I was a bit flip, wasn’t I …
It’s understandable.
But soon we shall have to ask the question why.
Why?
Why bother. You remember the mountain laboured and
brought forth not a man but a mouse. It was a big joke.
On the mouse. If you’re as insignificant as that, who needs a
mountain for a mummy?
I’ll see you later … with Dr Emerson.
And Cupbearers Limited.
Oh no … I assure you … We’re not at all limited.
[She goes out. She opens the door of Sister’s room. The Sister
is writing at the desk.]
Sister. It’s Mr Harrison. He seems a little agitated this morning.
Yes, he’s beginning to realise what he’s up against.
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In what ways does Clark make this an amusing and significant moment in the play?
Or
2
What does Clark make you feel about the relationship between Ken and Dr Scott? Refer
to details from the play in your response. (Do not use the passage printed in Question 1.)
Or
3
You are Nurse Kay Sadler just after you and John have prepared Ken for his hearing with
the Judge at the end of the play.
Write your thoughts.
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WILLIAM GOLDING: Lord of the Flies
Either
4
Read this passage carefully, and then answer the question that follows it:
Ralph spread his arms.
‘All ours.’
They laughed and tumbled and shouted on the mountain.
‘I’m hungry.’
When Simon mentioned his hunger the others became aware of theirs.
‘Come on,’ said Ralph. ‘We’ve found out what we wanted to know.’
They scrambled down a rock slope, dropped among flowers and made
their way under the trees. Here they paused and examined the bushes
around them curiously.
Simon spoke first.
‘Like candles. Candle bushes. Candle buds.’
The bushes were dark evergreen and aromatic and the many buds
were waxen green and folded up against the light. Jack slashed at one with
his knife and the scent spilled over them.
‘Candle buds.’
‘You couldn’t light them,’ said Ralph. ‘They just look like candles.’
‘Green candles,’ said Jack contemptuously, ‘we can’t eat them. Come
on.’
They were in the beginnings of the thick forest, plonking with weary
feet on a track, when they heard the noises – squeakings – and the hard
strike of hoofs on a path. As they pushed forward the squeaking increased
till it became a frenzy. They found a piglet caught in a curtain of creepers,
throwing itself at the elastic traces in all the madness of extreme terror.
Its voice was thin, needle-sharp and insistent. The three boys rushed
forward and Jack drew his knife again with a flourish. He raised his arm
in the air. There came a pause, a hiatus, the pig continued to scream and
the creepers to jerk, and the blade continued to flash at the end of a bony
arm. The pause was only long enough for them to understand what an
enormity the downward stroke would be. Then the piglet tore loose from
the creepers and scurried into the undergrowth. They were left looking at
each other and the place of terror. Jack’s face was white under the freckles.
He noticed that he still held the knife aloft and brought his arm down
replacing the blade in the sheath. Then they all three laughed ashamedly
and began to climb back to the track.
‘I was choosing a place,’ said Jack. ‘I was just waiting for a moment to
decide where to stab him.’
‘You should stick a pig,’ said Ralph fiercely. ‘They always talk about
sticking a pig.’
‘You cut a pig’s throat to let the blood out,’ said Jack, ‘otherwise you
can’t eat the meat.’
‘Why didn’t you –?’
They knew very well why he hadn’t: because of the enormity of the knife
descending and cutting into living flesh; because of the unbearable blood.
‘I was going to,’ said Jack. He was ahead of them and they could not
see his face. ‘I was choosing a place. Next time – !’
He snatched his knife out of the sheath and slammed it into a tree
trunk. Next time there would be no mercy. He looked round fiercely, daring
them to contradict. Then they broke out into the sunlight and for a while
they were busy finding and devouring food as they moved down the scar
towards the platform and the meeting.
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In what ways does Golding make this such a dramatic moment in the novel?
Or
5
Explore the ways in which Golding makes the conch such a powerful symbol in the
novel.
Or
6
You are Ralph on the morning after Simon’s death. You have lied to Samneric about
leaving the feast early.
Write your thoughts.
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LORRAINE HANSBERRY: A Raisin in the Sun
Either
7
Read this passage carefully, and then answer the question that follows it:
Travis:
What’s the matter, Daddy? You drunk?
Content removed due to copyright restrictions
Walter’s voice has risen in pitch and hysterical promise and on the last line he lifts Travis high.
How does Hansberry’s presentation of Walter here affect your opinion of him?
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Or
8
Annoying and self-centred
Admirable and determined
Which of these two judgements is closer to your view of Beneatha? Support your answer
with details from Hansberry’s writing.
Or
9
You are Ruth. You are about to depart for the new family home in Clybourne Park.
Write your thoughts.
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SEAMUS HEANEY: Death of a Naturalist
Either
10 Read this poem carefully, and then answer the question that follows it:
Blackberry-Picking
Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer’s blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up, and that hunger
Sent us out with milk-cans, pea-tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills,
We trekked and picked until the cans were full,
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard’s.
We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting on our cache.
The juice was stinking too. Once off the bush,
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn’t fair
That all the lovely canfuls smelt of rot.
Each year I hoped they’d keep, knew they would not.
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How does Heaney vividly present the children’s excitement and disappointment in
Blackberry-Picking ?
Or
11 In what ways do you think Heaney powerfully conveys a child’s fear in An Advancement
of Learning ?
Or
12 Explore some of the ways in which Heaney uses imagery to powerful effect in two of the
poems from Death of a Naturalist that you have studied.
© UCLES 2010
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BLANK PAGE
Turn to page 10 for Question 13.
© UCLES 2010
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HARPER LEE: To Kill a Mockingbird
Either
13 Read this passage carefully, and then answer the question that follows it:
We had not seen Mrs Dubose for over a month. She was never on the
porch any more when we passed.
Content removed due to copyright restrictions
According to her views, she died beholden to nothing and nobody. She was the bravest
person I ever knew.’
Atticus was reading the paper.
How does Lee make this such a powerful moment in the novel?
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11
J
Or
14 Explore the ways in which Lee makes the Cunningham family so significant in the novel.
Or
15 You are Mayella Ewell. You are leaving court after your cross-examination by Atticus.
Write your thoughts.
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GEORGE ORWELL: Nineteen Eighty-Four
Either
16 Read this passage carefully, and then answer the question that follows it:
‘Up with your hands!’ yelled a savage voice.
A handsome, tough-looking boy of nine had popped up from behind
the table and was menacing him with a toy automatic pistol, while his small
sister, about two years younger, made the same gesture with a fragment
of wood. Both of them were dressed in the blue shorts, grey shirts, and
red neckerchiefs which were the uniform of the Spies. Winston raised his
hands above his head, but with an uneasy feeling, so vicious was the boy’s
demeanour, that it was not altogether a game.
‘You’re a traitor!’ yelled the boy. ‘You’re a thought-criminal! You’re a
Eurasian spy! I’ll shoot you, I’ll vaporize you, I’ll send you to the salt mines!’
Suddenly they were both leaping round him, shouting ‘Traitor!’ and
‘Thought-criminal!’ the little girl imitating her brother in every movement.
It was somehow slightly frightening, like the gambolling of tiger cubs
which will soon grow up into man-eaters. There was a sort of calculating
ferocity in the boy’s eye, a quite evident desire to hit or kick Winston and a
consciousness of being very nearly big enough to do so. It was a good job
it was not a real pistol he was holding, Winston thought.
Mrs Parsons’ eyes flitted nervously from Winston to the children, and
back again. In the better light of the living-room he noticed with interest
that there actually was dust in the creases of her face.
‘They do get so noisy,’ she said. ‘They’re disappointed because they
couldn’t go to see the hanging, that’s what it is. I’m too busy to take them,
and Tom won’t be back from work in time.’
‘Why can’t we go and see the hanging?’ roared the boy in his huge
voice.
‘Want to see the hanging! Want to see the hanging!’ chanted the little
girl, still capering round.
Some Eurasian prisoners, guilty of war crimes, were to be hanged in
the Park that evening, Winston remembered. This happened about once
a month, and was a popular spectacle. Children always clamoured to be
taken to see it. He took his leave of Mrs Parsons and made for the door.
But he had not gone six steps down the passage when something hit the
back of his neck an agonizingly painful blow. It was as though a red-hot wire
had been jabbed into him. He spun round just in time to see Mrs Parsons
dragging her son back into the doorway while the boy pocketed a catapult.
‘Goldstein!’ bellowed the boy as the door closed on him. But what most
struck Winston was the look of helpless fright on the woman’s greyish face.
Back in the flat he stepped quickly past the telescreen and sat down
at the table again, still rubbing his neck. The music from the telescreen had
stopped. Instead, a clipped military voice was reading out, with a sort of
brutal relish, a description of the armaments of the new Floating Fortress
which had just been anchored between Iceland and the Faroe Islands.
With those children, he thought, that wretched woman must lead a
life of terror. Another year, two years, and they would be watching her night
and day for symptoms of unorthodoxy. Nearly all children nowadays were
horrible. What was worst of all was that by means of such organizations
as the Spies they were systematically turned into ungovernable little
savages, and yet this produced in them no tendency whatever to rebel
against the discipline of the Party. On the contrary, they adored the
Party and everything connected with it. The songs, the processions, the
banners, the hiking, the drilling with dummy rifles, the yelling of slogans,
the worship of Big Brother – it was all a sort of glorious game to them.
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All their ferocity was turned outwards, against the enemies of the State,
against foreigners, traitors, saboteurs, thought-criminals. It was almost
normal for people over thirty to be frightened of their own children.
And with good reason, for hardly a week passed in which The Times did
not carry a paragraph describing how some eavesdropping little sneak –
‘child hero’ was the phrase generally used – had overheard some
compromising remark and denounced its parents to the Thought Police.
55
How does Orwell create such a terrifying picture of children here?
Or
17 Winston thinks that the reality of modern life is ‘decaying, dingy cities’ with ‘underfed
people’.
By close reference to two incidents show how Orwell makes the dinginess and poverty
of life in Oceania particularly striking for you.
Or
18 You are Julia. You have just met O’Brien for the first time.
Write your thoughts.
© UCLES 2010
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WILLIAM SHAKESPEARE: Romeo and Juliet
Either
19 Read this passage carefully, and then answer the question that follows it:
Romeo:
Balthasar:
Romeo:
Balthasar:
Romeo:
Paris:
Romeo:
Paris:
Romeo:
© UCLES 2010
Give me that mattock and the wrenching iron.
Hold, take this letter; early in the morning
See thou deliver it to my lord and father.
Give me the light; upon thy life I charge thee,
Whate’er thou hearest or seest, stand all aloof
And do not interrupt me in my course.
Why I descend into this bed of death
Is partly to behold my lady’s face,
But chiefly to take thence from her dead finger
A precious ring – a ring that I must use
In dear employment; therefore hence, be gone.
But if thou, jealous, dost return to pry
In what I farther shall intend to do,
By heaven, I will tear thee joint by joint,
And strew this hungry churchyard with thy limbs.
The time and my intents are savage-wild,
More fierce and more inexorable far
Than empty tigers or the roaring sea.
I will be gone, sir, and not trouble ye.
So shalt thou show me friendship. Take thou that;
Live and be prosperous; and farewell, good fellow.
[Aside] For all this same, I’ll hide me hereabout;
His looks I fear, and his intents I doubt.
[Retires.
Thou detestable maw, thou womb of death,
Gorg’d with the dearest morsel of the earth,
Thus I enforce thy rotten jaws to open,
[Breaking open the tomb.
And, in despite, I’ll cram thee with more food.
This is that banish’d haughty Montague
That murd’red my love’s cousin – with which grief
It is supposed the fair creature died –
And here is come to do some villainous shame
To the dead bodies. I will apprehend him.
Stop thy unhallowed toil, vile Montague.
Can vengeance be pursued further than death?
Condemned villain, I do apprehend thee.
Obey, and go with me; for thou must die.
I must indeed; and therefore came I hither.
Good gentle youth, tempt not a desp’rate man;
Fly hence, and leave me. Think upon these gone;
Let them affright thee. I beseech thee, youth,
Put not another sin upon my head
By urging me to fury; O, be gone!
By heaven, I love thee better than myself,
For I come hither arm’d against myself.
Stay not, be gone; live, and hereafter say
A madman’s mercy bid thee run away.
I do defy thy conjuration,
And apprehend thee for a felon here.
Wilt thou provoke me? Then have at thee, boy!
[They fight.
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What does Shakespeare make you feel about Romeo in this extract?
Or
20 How does Shakespeare make Mercutio such a fascinating character in the play? Support
your answer with details from the play.
Or
21 You are Juliet. Romeo has just left you to go to banishment in Mantua.
Write your thoughts.
© UCLES 2010
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BLANK PAGE
Copyright Acknowledgements:
Question 1
Question 4
Question 7
Question 10
Question 13
Question 16
© Brian Clark; Whose Life is it Anyway? ; Heinemann; 1993.
© William Golding; Lord of the Flies ; Faber & Faber; 2004.
© Lorraine Hansberry; A Raisin in the Sun ; Methuen, A C Black; 2001.
© Seamus Heaney; Death of a Naturalist ; Faber & Faber; 2002.
© from To Kill a Mockingbird by Harper Lee, published by William Heinemann Ltd. Reprinted by permission of The Random House Group Ltd.
© George Orwell; Nineteen Eighty-Four ; Penguin; 1998.
Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every
reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the
publisher will be pleased to make amends at the earliest possible opportunity.
University of Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of
Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge.
© UCLES 2010
0486/53/O/N/10